김관식 시의 생태학적 상상력 연구

김옥성(Kim Oksung) 한국언어문학회 2010 한국언어문학 Vol.74 No.-

The ecological imagination of Kim Kwan-sik's poetry is based on the tradition of Lao-Chuang and taoism. Kim's eco-poetics starts on the cognition of the tragic self. The poetic subject mystifies the nature, and liberates the self from the tragic condition. He concentrates on the identification of the mystified nature and the self. The identification appears as three types of Lao-Chuang taoist ecological imagination, the imagination of taoist diet, the imagination of Lao-Chuang's peripatetic and identification, the imagination of Lao-Chuang's pastoral. The Buddhist eco-poetics of Seo Jung-joo and the Lao-Chuang taoist eco-poetics of Kim Kwan-sik are the two peaks of eco-poetics of the Post-war Korean Modern Poetry. Before the poetics of Kim, there is the poetics of Shin Seok-jung in the history of the Lao-Chuang taoist eco-poetic of Korean modern poetry. The poetics of Shin has a tendency to modernism, and it has shallow meaning in the dimension of Lao-Chuang taoist thought. But the poetics of Kim has an inclination to anti-modernism and it has a deep meaning in the dimension of Lao-Chuang taoist thought.

김소월 시의 샤머니즘 생태학적 상상력

김옥성(Kim Ok-sung) 문학과 환경학회 2011 문학과 환경 Vol.10 No.1

The shamanistic-ecological imagination of Kim is at the head of the history of Korean modern shamanistic-ecological poetics. Kim’s ecological poetics focuses on the spirituality. The shamanistic spirituality has been suppressed by the modern natural science and the reason. Kim embodies the shamanistic spirit of the self. The shamanistic self communes with the spirit of the cosmos. The self experiences the feeling of union with the life of the cosmos. Kim describes the nature filled with the spirits. Various spiritual beings wander the nature. And the nature is also a spiritual body in Kim’s poetry. The spirit means the life of the nature and the cosmos. Kim’s shamanistic-ecological imagination show the spiritual solidarity of the self and the nature. The imagination boosts the awe and respect for the nature.

김기림 시의 보편주의와 초월적 시선 연구

김옥성(Kim, Ok-sung) 한국어문학회 2015 語文學 Vol.0 No.129

This study examines that ‘formal logic’ and ‘eclecticism’ is not the essence but the limitation of Kim Ki-rim’s poetics, and that its essence is universalism, which appears as the transcendent vision in Kim’s poetry. This study further examines the transcendent visions of Kim’s poetry from the viewpoints of a cosmopolitan, a journalist, and a poet. First, from the viewpoint of a cosmopolitan, the poetic self tries to have an insight into the international affairs and the destiny of the earth-community. Second, from a journalist’s perspective, the self surveys the global universality and unique characteristics of Korea. Third, from the standpoint of a poet, he tries to have a vision of a superego who grasps the dynamics of sentiment and intellect in the poetry. The poetic self declares the death of God, and replaces God with the intellect. He tries to have an insight into the ego and the world in the transcendent vision. He shows the belief in the transcendence of the intellect. The acquisition of the transcendent vision and the universalism is an impossible dream, but his sincere and continuous practice is highly valued in the history of Korean poetry.

실향 의식과 존재적 실존 -홍윤숙의 『려사시집(麗史詩集)』 연구-

김옥성 ( Kim Ok-sung ) 고려대학교 민족문화연구원 2018 民族文化硏究 Vol.78 No.-

『여사시집(麗史詩集)』은 한국 여성시사에서 기념비적인 시집 중 하나이다. 그럼에도 불구하고 깊이 있게 다뤄지지 않았다. 본고는 홍윤숙의 첫 시집 『여사시집』을 미시적인 관점에서 고찰하고 문학사적 위상과 의의를 재조명한다. 이 시집에는 독특한 장소 정체성이 나타난다. 실향민으로서의 정체성도 나타나지만 '지금-여기'에 대한 장소애도 나타난다. 실향민 정체성과 연결된 '방황하는 주체'는 '지금-여기'를 향유하면서 무장소적 영역을 장소화한다. 시적 주체는 고향의 소유-회복을 추구하는 대신, '지금-여기'를 향유하는 것이다. '방황하는 주체'는 장소를 소유하지 않고 향유하는 존재라는 점에서 존재적 실존의 한 양상으로 이해할 수 있다. 홍윤숙은 존재적 실존 의식을 사랑의 상상력, 나무의 이미지, 가족의 이미지 등을 통해 다양한 양상으로 형상화한다. 그는 존재적 실존의 조건으로 "인내"를 제시한다. 인내를 통해 존재적 실존에 도달하게 되고, 존재적 실존은 곧 인내하는 주체와 동일시 된다. 인내는 수단이자 목적인 것이다. "수목"의 이미지로 대변되는 인내하는 주체가 보여주는 존재의 향유는 '지금-여기'를 중시하는 상상력으로 전개된다. 시적 주체는 '지금-여기'를 향유하면서도, 일상에 함몰되는 것은 거부하며 일상으로부터의 탈주를 추구한다. 일상의 영역에서 시간은 끊임없이 죽어 패각화된다. 시적 주체는 일상의 공허를 인식하고 그로부터 탈주하고자 하는 '결단'의 자세를 보인다. '결단하는 주체'는 무의미하게 허비되는 시간과 투쟁하며 일상의 외부로 탈주와 모험을 지향한다. '인내하는 주체'가 '지금-여기'의 삶을 중시한다면, '결단하는 주체'는 일상에의 함몰을 경계하는 데에 무게를 둔다. 『여사시집』의 존재적 실존에 대한 상상력은 '지금-여기'의 향유를 중시하면서도, 다른 차원에서는 '지금-여기'가 무기력하고 무감각한 '일상'으로 전락하는 것을 경계하는 복합적인 성격을 지니는 것이다. 『여사시집』은 김남조의 『목숨』과 더불어 전후 여성시사에 생성된 두 개의 최고봉이다. 김남조의 『목숨』이 단기간에 집필된 만큼 단조로운 색채를 보여주는 반면, 홍윤숙의 시집에는 다채로운 시편들이 수록되어 있다. 『목숨』이 영적이고 감상적인 면이 강하다면, 『여사시집』은 상대적으로 지적인 색채가 진하다. Collection of Yeosa's Poems(『여사시집』) is one of the monumental book of poetry in the history of Korean women's poetry. Nevertheless, it has never been dealt with in depth. This paper examines Yoon-sook Hong's first poetry collection from a microscopic point of view and re-examines the meaning of literary history in this poetry book. The subject has a unique place identity. She has 'placelessness' identity as a displaced person, but on the other hand she has topophilia for 'now-here'. The 'wandering subject' connected with the identity of the displaced person turns 'non-place' into 'place' enjoying 'now-here'. Instead of pursuing possession-recovery of her hometown, she enjoys 'now-here'. The 'wandering subject' can be understood as an aspect of the being existence in that she is a being that does not own a place but enjoys it. Hong shapes the existential consciousness in various aspects through the imagination of love, the image of the tree and the image of the family. She offers 'patience' as a condition of the being existence. The subject, through patience, reaches the being existence, and the being existence is identified with the persevering subject. Patience is a means and an end. The enjoyment of the being shown by the 'persevering subject' represented by the image of the 'tree' is developed into imagination that emphasizes 'now-here'. The poetic subject, while enjoying 'now-here', refuses to be absorbed into everyday life and seeks escape from daily life. In the realm of daily life, time is constantly dying and shelling. The poetic subject recognizes the void of everyday life, and takes the posture of 'resoluteness' to escape from it. This 'resolute subject' struggles with time that is wasted meaninglessly and tries to break free from everyday life. The 'persevering subject' regards the life of 'now-here' as important. On the other hand, the 'resolute subject' places importance on guarding against sinking into daily life. The imagination of the being existence in this poetry book, has a complex nature that emphasizes the enjoyment of 'now-here' but on the other side, suppresses falling into helpless and insensitive everyday life. This poetry book and Kim Nam-jo's life(『목숨』) are two high peaks of post-war modern Korean woman's poetry. As Kim's life was written in a short period of time, it is filled with works of a single color, while Hong's book contains psalms of various colors. While Life has spiritual and sentimental aspect, Hong's poetry has relatively intelligent color.

김달진 시의 현실인식 - 근대성 비판을 중심으로

유상희(Yu, SangHee),김옥성(Kim, Ok-sung) 문학과환경학회 2021 문학과 환경 Vol.20 No.3

그동안 김달진에 관한 연구는 주로 제한적인 부분에서 논의가 이루어졌으며 현실인식과는 무관한 것으로 간주되어 왔다. 그의 전기적 행적에서도 확인할 수 있듯이 김달진의 작품세계, 특히 초기 작품에서 현실인식은 두드러지게 발견된다. 김달진 시에서 나타난 현실인식은 전통사회의 몰락과 근대로의 이행이라는 시대적 상황과 밀접한 관계를 맺고 있다. 근대가 들어서면서 자연은 일상에서 분리되어 박제된 상태로 존재하였다. 김달진은 이런 현실을 “낡은 벽화속의 사슴”, “박제된 어린 비둘기”, ‘유리 항아리에 갇힌 금붕어’ 등으로 형상화하였다. 박제된 자연은 근대 문명에 감금된 근대인의 모습이기도 하다. ‘항아리에 갇힌 금붕어’는 차가운 빌딩에 수감된 근대인의 은유이다. 식민지 도시 경성은 소비의 욕망을 작동시키는 스펙터클한 공간이었다. 김달진은 이러한 소비의 욕망에 주목하였다. 김달진은 사람들이 근대라는 ‘환영’에 빠져 다방에서 값비싼 커피를 마시고 일요일이면 고궁에서 여가를 즐기며 근대를 소비하는 세태를 비판한다. 이들이 소비한 근대는 잡히지 않는 ‘환영’에 불과하다. 그들은 판타스마고리를 경험할 뿐이다. 판타스마고리는 소비주의, 물신주의와 밀접한 관계를 맺고 있다. 표박의식은 일제강점기라는 시대적 상황과 근대에서의 고향 상실과 맞물려 있다. 김달진은 표박의식을 인간의 본능이라고 하며 “냉혹한 현실”로 인해 표박자가 되었다고 한다. 표박의식에서 “고수”는 필연적이다. “고수”는 표박자가 공동체의 일원으로서 본질적 존재로 접근할 수 있도록 한다. 표박자의 시선은 차 밖의 “냉혹한 현실”에 머무른다. “아리욕”과 같은 개인주의와 물질주의가 사회 전역에 퍼져 있었다. So far, the research on Kim Dal-jin has been mainly discussed in limited extent without considering reality recognition. As we can see from his biographical track record, the reality recognition of Kim Dal-jin’s works is found especially in his early works. Kim Dal-jin’s perception of reality is closely related to the situation of the times, such as the fall of traditional society and the transition to modernity. As modern times entered, nature was separated from daily life and existed in a stuffed state. Kim Dal-jin poeticized this reality in the works of “A Deer in an Old Mural,” “A Stuffed Young Pigeon,” and “A Goldfish Trapped in a Glass Jar.” The stuffed nature is also the image of modern people imprisoned in modern civilization. “Goldfish Trapped in a Jar” is a metaphor for modern people in the prison of cold buildings. The colonial city of Gyeongseong was a spectacular place to activate the desire for consumption. Kim Dal-jin pays attention to this desire for consumption. Kim Dal-jin criticizes the generation in which people fell in love with the illusion of modern times, sipping expensive coffee in the cafes, consuming modernity enjoying leisure time while strolling in old palaces on Sunday. However, to them the modernity was nothing but an illusion. They only experienced the Fantasmagorie. The Fantasmagory is closely related to consumerism and physicalism. The nomadism is linked to the situation of the times called Japanese colonial era and the loss of one’s hometown in modern times. Kim Dal-jin says nomadism a human instinctKim and he has become a nomad because of “hard reality.” In the nomadism, “solitude” is inevitable. In the nomadism the solittude allows access to an substantial existence as a member of a community. The gaze of the nomad see “Cold reality” through the window of the car. Individualism and materialism, such as “ariyok,” are spread throughout society.

이광수 시의 생태의식 연구

김옥성(Kim Ok-sung) 한국현대문학회 2009 한국현대문학연구 Vol.0 No.27

본고는 이광수의 시의 생태의식을 구명하고 있다. 이광수는 인과론을 매개로 불교와 과학을 변증시킨다. 이광수 시에서 우주는 인과론적 질서에 의하여 정교하게 짜여진 하나의 전일적인 유기체이다. 자아는 허무와 불멸이라는 양면성을 띤다. 이러한 자아들은 우주-생태계를 인과론적으로 순환하는 생태학적 자아의 두 가지 양상이다. 윤회론에 입각한 이광수 시에서 모든 생명은 평등하다. 모든 생명체는 희로애락을 지닌 존재들로서 인류와 대칭적 관계를 맺고 있으며, 생명체들이 거주하는 소우주 또한 대칭적이다. 그는 생태학적 실천의 원리로서 사랑을 제시한다. 사랑은 한편으로는 동등한 생명체로서 모든 생명체에 대한 배려와 존중을, 다른 한편으로는 우주-생태계 전체를 위한 개체의 희생을 의미한다. 이 광수의 생태시학은 과학과 불교를 변증하여 전통의 근대적 계승을 시도하고 있다는 점에서 일정한 의의를 지닌다. 한편 이광수의 생태주의가 전체주의와 맞물려있다는 사실을 간과할 수는 없다. This paper aims to examine the ecological consciousness of Lee Kwang-soo's poetry. Lee connected the modern science with Buddhism by the medium of causationism. The cosmos is a holistic organism woven by the law of the causation. The self has two faces of the nihil and the immortality. These two faces are the different forms of the ecological self circulating causationally. All the lifes are equal in the poetics of Lee based on the imagination of transmigrationism. All the lifes are in symmetrical relation with human, and all the microcosms are in symmetrical relation with each other. Love is the concept of the ecological practice. It means the consideration and the respect for every life on the one hand, and it means the sacrifice of the individuals for the whole on the other hand. The eco-poetics of Lee is significant because it has a strong inclination toward succession of the tradition adapted to the modern science. The ecologism of Lee is in contact with his totalism.

유치환 초기시의 노마디즘 연구

김옥성(Kim, Ok-sung) 한국어문학회 2017 語文學 Vol.0 No.136

This article examines “nomadism” emerging as an important idea and imagination in the early poems of Yu Chi-hwan. The nomadism is defined as the mobility in both physical and ideational levels, and in poems, the poet’s nomadic imagination does not simply reduce to the binarism between cooperation and resistance but reveals much complexity. The nomadic imagination is closely associated with vagabondage acting as emotional impulse and identity. The vagabond often finds emotional unity with minorities and outsiders and builds the postmodernist community with other vagabonds. However, the community is temporary and ambiguous, since the goal is not in settlement but in vagabondage. The nomadic power comes from not being bound in hatred of enemy but separating oneself from the fixed boundary. The nomadic self maintains a critical view of the ordinary world and explores the other world in the outside. He continuously defines his identity as a vagabond and seeks the primitive and eternal self. This article explores how Yu Chi-hwan’s nomadic imagination is embodied in his poems and demonstrates the way in which his poems present the postmodern ideas and imagination deviating from the influences of nationalism and imperialism. However, the study also discusses that the poems reveal the poet’s limitations in that they are still constrained by the influence of imperialism, social evolutionism, and eugenics.

김현승 시에 나타난 전이적 상상력 연구

김옥성(Kim Ok-sung) 한국현대문학회 2001 한국현대문학연구 Vol.9 No.-

김달진 시의 선적 미의식과 불교적 세계관

김옥성 ( Ok Sung Kim ) 한국언어문화학회 2005 한국언어문화 Vol.0 No.28

김남조의 『목숨』에 나타난 죄의식과 자기구원 의식 연구

김옥성(Kim, Ok-sung) 한국어문학회 2016 語文學 Vol.0 No.132

Life, a collection of Kim Nam-jo’s poetical works, is noteworthy, delicately describing the inner world. By transforming Christian thoughts and wartime experiences, the poetic self demonstrates unique imagination. She attributes the suffering of war to the sin, believing that such suffering could be overcome by self-sacrifice. The self implies the humanistic belief that humanitarian love, not God, saves the human race. Deep in cosmic imagination, she finds the immortal self and overcomes the anxiety of nonexistence. The imagination of Life is exceptional in that the Christian self attempts to save herself and the human race through humanitarian imagination, not relying on God. Life successfully embodies the inner world of a human who suffers war, but the emphasis on the inner world places a limit on the reflection of the objective outer world.